Format 43 x 32 cm. For more information contact us: 06 81 01 49 19.
This work is visible by appointment. Galerie Montfort 64 passage chubby 75009 bets.
In 1920, a richier lee premier entered the School of Fine Arts in the workshop of. There she learns the technique of direct pruning and mainly makes busts. She won the first prize of sculpture with. In 1926, on the recommendation of the architect Henri Favier. Welcomes him to his private studio, Avenue du Maine.Bourdelle is surrounded by two practitioners, the Swiss sculptors arnold geissbuhler. She married otto bunninger on December 12, 1929, and in 1933 they moved into a workshop on Avenue de Châtillon, now Avenue Jean-Moulin in the 14th. In 1936, the max kaganovitch gallery in Paris organized its first private exhibition. Germaine richier shows busts, now destroyed and a nude male loretto i. She receives the Blumenthal Award.
At the declaration of war, in September 1939, german richier and otto bunninger are in Switzerland. She began to take an interest in the theme of the hybrid figure: the toad (1940), the grasshopper (1944) and the forest man (1945).
However, she did not abandon the creation of more realistic works (Chinese , 1939) and male or female nudes (pomone , 1945). She meets the Italian sculptor Marino marini. A great friendship was born between them: \"Meeting the richman was like meeting a volcano of fantasy and vitality. Was a reciprocal need, a manifestation of thought: two Mediterranean elements that found themselves in a part of Europe that was not affected by war. Then, when peace returned, everyone returned to his country, and german returned to France.I saw her again later, she didn't talk, she was worried. In 1945, he made a richier german head preserved in the galleria d'arte moderna de milan.
In April 1946, german richier returned to Paris, without otto b-nninger. With the latter, it corresponds very regularly. \"Basically, it was benni who introduced me to art and it is to him that I owe the emancipation of my bourgeois life.\" she finds her workshop on the avenue of châtillon and pursues her hybrid figures the spider i , the mantis, the bat. In November 1946, she met the writer and poet René de solier.
Admiring his work, he manages to stimulate in it his creative effervescence. He communicates his admiration to his friend jeans paulhan. As well as the poet Francis ponge.
And to the writer André pieyre de mandiargues. Who spares no enthusiasm: \"To my taste, it is almost only a few women who save the painting today, and it is richier who saves the sculpture. In 1947, she made the storm for which she had an old model of august rodin posed. This work is presented at the xxive venice biennial. That same year, she exhibited at the Anglo-French art centre in London.
The text of the catalogue is from rené de solier. In 1948, it was the maeght gallery. Who exhibits it (October 22 to November 10). At the same time an issue of the magazine behind the mirror is dedicated to it with texts of georges limbour. In 1949, she accepted an order for the decoration of the new church built on the Assy Plateau.
She realizes the crucifix placed behind the altar. A few months after the inauguration of the church on August 4, 1950, a group of Catholic fundamentalists managed to obtain the removal of the sculpture.
It was not put back in place until 1969. She exhibits at the xxve Venice Biennial in the French Pavilion and at the first biennial of Sao Paulo. Where she receives the first prize of sculpture. From 1951, german richier added colour to her bronzes.
Thus for the city (1951), the background is painted by vieira da silva. And the top (1952) by hans hartung. She also has the idea of inserting colored glasses. It illustrates the works of arthur rimbaud. Illuminations and a season in hell by etchings.In 1954, german richier exhibited for the first time in the United States. At the allan frumkin gallery of chicago. Then she participated in the collective exhibition the new decade: 22 european painters and sculptors at the museum of modern art (moma). In 1956, she completed a monumental work over. Length the mountain for the retrospective that is organized at the Museum of Modern Paris Art.
She is one of the few artists to see a retrospective of her lifetime at the mnam. In 1957, for health reasons, she moved to Antibes. With her husband René de solier, whose collection of poems she illustrates on the ground. The last exhibition organized during his lifetime took place at the Grimaldi-Castle Museum in July 1959. She died on the 31st.And buried in the communal cemetery of mudaison. In 1993, the post office issued a stamp bearing his effigy. She learns the triangulation technique of working on the living model by marking each of the bone points. From these markers that indicate the structure of the skeleton, lines crisscross the body. This division of the body by a dense linear network allows to analyze the shape and proceed with the help of compasses (height and thickness) and plumb wire, to carry it on the earth model without intermediate studies. The catalogue of the 1996 maeght foundation exhibition reproduces a photograph of the Nardone model painted entirely with strokes. He will once say, \"You know how to hang a nose on a forehead.\" this tile is not a way to copy nature, but rather to interpret the form, to distort it by making \"lie the compass\" according to its frequently used expression. \"In my opinion, what characterizes a sculpture is the way in which one renounces the solid and full form.
The holes, the perforations illuminate the matter that becomes organic and open, they are everywhere present, and this is where the light passes. A form cannot exist without an absence of expression.
And we cannot deny human expression as part of the drama of our time. Germaine richier designs her works full and complete. She stretches the earth, layers it, kneads it and then rips it with sharp-toed tools that she calls swords with which she cuts a plane, accentuates a hollow, draws a line affirming the direction of a leg or arm. It incises the surface of the material to include fragments and trace scarifications. She wants shredded shapes to look changeable and alive.
It sees a \"long-standing tortured matter\" where \"from the first clay, to the metal at last, [richish gold] never ceases to file, top and toss, to amputate and then to graft. From the toad (1940), it represents the human body by integrating it into the reals of nature. She pushes the experiment to the point of grafting tree branches and leaves into plaster (forest man, 1945).She sees life in everything and this animistic dimension becomes central in the elaboration of her sculpture. It associates the body of a man or woman with a natural element or worn object without fear of giving birth to strange figures. A piece of brick and cement polished by the sea, picked up on the beach of varengeville. Became the head of the shepherd of the moors (1951), a fragment of amphora appears the top of the bust of water (1954). It was René de solier, in 1953, who first used the word hybrid to evoke the sculptures of richier german: \"the difficulty overcome, after some adventurous exploration, we surprise the hybrid and the power to forget \"the origins\". The repertoire of hybrid forms, inaugurated by the toad is, at first, only an encounter between an animal name and its human transposition before opening up to the mixture of human, plant and animal kingdoms. The choice among animals (toads, bats, tarasques, grasshoppers, mantises, spiders) drawn from an essentially feminine register, builds a universe where the woman \"is sovereign\". And with the exception of the toad, they are beings with long and haily limbs, susceptible to leaps or thefts.
Note \"black, dusty windows along the walls, boxes of fabulous insects that will be seen to play a role in the sculpture of richier german. The item \"germaine rich litho original sculptor marino marini USA Paris\" is on sale since Thursday, December 3, 2015.It is in the category \"art, antiques-art of the 20th, contemporary prints, engravings\". The seller is \"jcjc8\" and is located in bets.
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